William H. Macy Quotes
All modesty aside, I think I'm good at reading scripts. The way I read a script is as fast as I can, all in one sitting, and I don't read many of the stage directions. I only read enough stage directions to let me know where I am, because they're always so verbose and mostly horseshit. So I only read the dialogue, which allows me to see the movie in my mind's eye in real time.
Quotes to Explore
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After I left college, I went to work at the Royal Opera House in London, which became a real catalyst for me because it made me realize that I was interested in cinema and in the way life is thrust at you. So I started making films.
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It seems to me that trying to live without friends is like milking a bear to get cream for your morning coffee. It is a whole lot of trouble, and then not worth much after you get it.
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For my film 'Fashion,' like an investigative journalist, I went about knowing the people, the models, the fashion designers. Similarly with the corporate world.
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I remember thinking that people were crazy for reading the same book more than once, but I now have a new-found appreciation for the re-discovery of literature. The lessons we learned from books in the school curriculum are reinvented and updated when we read as adults.
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'Giving 2.0' frames giving as a learning experience and encourages everyone to make giving a part of your year-round life.
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I am more afraid of those who are terrified of the devil than I am of the devil himself.
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People are making judgements about Russian people based on me. This is why I never allow myself any aggression towards my opponent.
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Any competent actor could have done what I did.
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I love the creativity of New York, but I don't enjoy the city - I don't like living here.
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Reason is the natural order of truth; but imagination is the organ of meaning.
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The studio didn't ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.
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I don't want to mess with my face. So I'm becoming fluent in French so I can go to France and make French films when I'm 60.
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I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
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I had a Ford F-250. It was a big ol' farm truck, but it wasn't a rig. That's about the biggest I've ever driven. That's what I drove back and forth to high school. I was a poor guy, and it was a truck that my uncle owned and let me drive because I had no money.
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Before I got into grad school, I used to work as a deck hand on these ferry boats in San Francisco, and they did day tours. It wasn't a bad job. I made decent money. But you were sitting down all day, tying up the boat, wiping it down. For some guys, that's a dream job, but for me it was kind of torture.
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American business at this point is really about developing an idea, making it profitable, selling it while it's profitable and then getting out or diversifying. It's just about sucking everything up.
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If you get lazy when you're onstage, it shows.
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I'm not the kind of actress that goes home with the character. I mean, you're thinking about the work or the next day's scenes, but not staying in character. But as a film goes on, you become more and more fragile, emotionally. And physically too, actually.
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A businessman who reads Business Week is lost to fame. One who reads Proust is marked for greatness.
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It is astonishing how many mental operations we can explain when we have once grasped the principles of association
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My mother is an actress, and my aunt Margaux was a model. And it's funny, as much as I'm all about I'm my own person, and I'm making my own name for myself, I have grown up in a world where most of these people who are like me are children of famous parents. So it's easy to become the socialite and be famous for that.
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The future belongs to those who prepare for it.
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The purpose of thinking about the future is not to predict it but to raise people's hopes.
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All modesty aside, I think I'm good at reading scripts. The way I read a script is as fast as I can, all in one sitting, and I don't read many of the stage directions. I only read enough stage directions to let me know where I am, because they're always so verbose and mostly horseshit. So I only read the dialogue, which allows me to see the movie in my mind's eye in real time.
